Shadows of the Enlightenment: Tragic Drama during Europe’s Age of Reason: Classical Memories/Modern Identitie
Editat de Blair Hoxbyen Limba Engleză Hardback – 11 ian 2022
Contributors: Joshua Billings, Logan J. Connors, Adrian Daub, Cécile Dudouyt, James Harriman-Smith, Joseph Harris, Alex Eric Hernandez, Blair Hoxby, Russ Leo, Larry F. Norman, Stefan Tilg
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Specificații
ISBN-13: 9780814215005
ISBN-10: 0814215009
Pagini: 326
Dimensiuni: 152 x 229 x 28 mm
Greutate: 0.65 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Classical Memories/Modern Identitie
ISBN-10: 0814215009
Pagini: 326
Dimensiuni: 152 x 229 x 28 mm
Greutate: 0.65 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Classical Memories/Modern Identitie
Recenzii
“Shadows of the Enlightenment’s most compelling feature is not so much any standalone chapter but the insights that emerge as the chapters intertwine with each other, implicitly and explicitly, across temporal and national bounds … A welcome addition to the ever-growing field of eighteenth-century theatre and performance.” —Daniel Gustafson, Comparative Drama
"The approach the contributors to this collection take to Enlightenment tragedy is, in a word, expansive. Their multilingual scope and careful tracking of the genre’s transition from grand-siècle tragedy to romantic and modernist drama will make this book an invaluable resource for scholars across literary fields." —Pannill Camp, author of The First Frame: Theatre Space in Enlightenment France
“University faculty, students, and scholars across many fields will find Hoxby’s work an immeasurable compilation of critical expertise and specialization about the Enlightenment and particularly, Enlightenment tragedy. The 37-page bibliography following the essays is a treasure, too, and adds to this resourceful and remarkable text.” —Jeffrey Moser, Rocky Mountain Review of Language and Literature
"The approach the contributors to this collection take to Enlightenment tragedy is, in a word, expansive. Their multilingual scope and careful tracking of the genre’s transition from grand-siècle tragedy to romantic and modernist drama will make this book an invaluable resource for scholars across literary fields." —Pannill Camp, author of The First Frame: Theatre Space in Enlightenment France
“University faculty, students, and scholars across many fields will find Hoxby’s work an immeasurable compilation of critical expertise and specialization about the Enlightenment and particularly, Enlightenment tragedy. The 37-page bibliography following the essays is a treasure, too, and adds to this resourceful and remarkable text.” —Jeffrey Moser, Rocky Mountain Review of Language and Literature
Notă biografică
Blair Hoxby is Professor in the Department of English at Stanford University. He is the author of What Was Tragedy? Theory and the Early Modern Canon and the coeditor of Milton in the Long Restoration, among other books.
Extras
If historians of tragedy have been too ready to forget the excitement that the eighteenth-century repertoire held for contemporaries, they have not been much kinder to the century’s dramatic criticism, for they have tended to dwell on the publication of commentaries on Aristotle’s Poetics in the sixteenth century, the codification of the rules of “regular” tragedy in France in the seventeenth century, and the elaboration of an Idealist and Romantic philosophy of tragedy at the dawn of the nineteenth century. From this point of view, the tragic drama and theater criticism of the early and mid-eighteenth century may appear to be a mere continuation of earlier forms and projects. On the other hand, intellectual historians have long recognized that the century saw the emergence of a discourse of taste and aesthetics, a psychology of literary reception, fervent theorization of the sublime, the invention of character criticism, and a cult of primitive and original genius. Tragedy played a central role in all these critical projects as a test case and a treasury of examples.
The essays collected in Shadows of the Enlightenment invite us to see the long eighteenth century as a period of transition in which dominant, residual, and emergent ideas of—and practical experiments in—tragedy coexist. For during these decades, a venerable poetics of tragedy, which had been elaborated for some two centuries, was transformed by advances in psychology and medical pathology that changed the way dramatists and critics conceived both the depiction of the humors, dispositions, and passions of the persons onstage and the experience of spectators as they watched dramas unfold. At the same time, the foundations were laid for the “historical turn” in Western thought that is often dated to Goethe and Johann Gottfried von Herder’s 1773 publication of On German Custom and Art [Von deutscher Art und Kunst].
...
A volume that proposes to cover changing theories of affect on the tragic stage in scripts, actors, and audiences, that examines the interplay of Enlightenment philosophy and religion with the tragic stage, and that analyzes the collision between antiquity and modernity—a collision whose continuing impact would be felt into the nineteenth and twentieth centuries—promises the reader a lot. Yet it cannot offer the reader everything. This book is not a comprehensive account of the eighteenth-century stage. If it were, we might cover, among other topics, the rise of spectacle in stage productions, the increasing professionalization of actors and actresses, the introduction of exotic cultures to the tragic scene, and slavery as a tragic subject. The essays in this collection do not cover these matters in any detail, which must await treatment in future volumes dedicated to eighteenth-century tragedy. On the other hand, they do treat topics that lie just as close to the heart of eighteenth-century tragedy: the place of feminine suffering in the tragic universe, the emergence of “middle-class” tragedy, and the relationship between tragedy and neighboring forms, such as Gothic drama, bourgeois drama, and opera. No collection of essays can exhaust the riches of eighteenth-century tragedy. The contributors to this book are part of a larger group working to write a neglected chapter of theater history, and we trust that this will be just the first of several books to undertake a reassessment of eighteenth-century tragedy.
The essays collected in Shadows of the Enlightenment invite us to see the long eighteenth century as a period of transition in which dominant, residual, and emergent ideas of—and practical experiments in—tragedy coexist. For during these decades, a venerable poetics of tragedy, which had been elaborated for some two centuries, was transformed by advances in psychology and medical pathology that changed the way dramatists and critics conceived both the depiction of the humors, dispositions, and passions of the persons onstage and the experience of spectators as they watched dramas unfold. At the same time, the foundations were laid for the “historical turn” in Western thought that is often dated to Goethe and Johann Gottfried von Herder’s 1773 publication of On German Custom and Art [Von deutscher Art und Kunst].
...
A volume that proposes to cover changing theories of affect on the tragic stage in scripts, actors, and audiences, that examines the interplay of Enlightenment philosophy and religion with the tragic stage, and that analyzes the collision between antiquity and modernity—a collision whose continuing impact would be felt into the nineteenth and twentieth centuries—promises the reader a lot. Yet it cannot offer the reader everything. This book is not a comprehensive account of the eighteenth-century stage. If it were, we might cover, among other topics, the rise of spectacle in stage productions, the increasing professionalization of actors and actresses, the introduction of exotic cultures to the tragic scene, and slavery as a tragic subject. The essays in this collection do not cover these matters in any detail, which must await treatment in future volumes dedicated to eighteenth-century tragedy. On the other hand, they do treat topics that lie just as close to the heart of eighteenth-century tragedy: the place of feminine suffering in the tragic universe, the emergence of “middle-class” tragedy, and the relationship between tragedy and neighboring forms, such as Gothic drama, bourgeois drama, and opera. No collection of essays can exhaust the riches of eighteenth-century tragedy. The contributors to this book are part of a larger group working to write a neglected chapter of theater history, and we trust that this will be just the first of several books to undertake a reassessment of eighteenth-century tragedy.
Cuprins
Acknowledgments
Introduction Tragedy at the Crossroads of the Enlightenment and Counter-Enlightenment
Blair Hoxby
Part I Ancient Forms, Modern Affects
Chapter 1 Medæa in Petticoats: She-Tragedy and the Domestication of Passion
Alex Eric Hernandez
Chapter 2 “Sentiments Raisonnables”: Houdar de La Motte’s Tragedies of Interest
Logan J. Connors
Chapter 3 Zara’s Enthusiastic Passions
James Harriman-Smith
Chapter 4 Joanna Baillie, the Gothic Bard, and Her Tragedies of Fear
Blair Hoxby
Part II Philosophy, Religion, and the Institutions of Tragedy
Chapter 5 Nil Volentibus Arduum, Baruch Spinoza, and the Reason of Tragedy
Russ Leo
Chapter 6 Voltaire’s Subliminal Enlightenment: Sophoclean “Simplicity” and the Purpose of Tragedy
Cécile Dudouyt
Chapter 7 The Rules of Tragedy: Johann Christoph Gottsched and the Question of Modern Tragedy
Adrian Daub
Chapter 8 Jesuit Tragedy: An Underestimated Stage of Enlightenment Discourse
Stefan Tilg
Part III Ancients, Moderns, and the Historical Turn
Chapter 9 Historicizing Tragedy in the Enlightenment, or Reading Dramatic Interiority in Racine
Larry F. Norman
Chapter 10 The Aesthetics of Torture: Diderot’s Theater of Cruelty
Joseph Harris
Chapter 11 Lament and the Temporality of Philhellenism
Joshua Billings
Bibliography
List of Contributors
Index
Introduction Tragedy at the Crossroads of the Enlightenment and Counter-Enlightenment
Blair Hoxby
Part I Ancient Forms, Modern Affects
Chapter 1 Medæa in Petticoats: She-Tragedy and the Domestication of Passion
Alex Eric Hernandez
Chapter 2 “Sentiments Raisonnables”: Houdar de La Motte’s Tragedies of Interest
Logan J. Connors
Chapter 3 Zara’s Enthusiastic Passions
James Harriman-Smith
Chapter 4 Joanna Baillie, the Gothic Bard, and Her Tragedies of Fear
Blair Hoxby
Part II Philosophy, Religion, and the Institutions of Tragedy
Chapter 5 Nil Volentibus Arduum, Baruch Spinoza, and the Reason of Tragedy
Russ Leo
Chapter 6 Voltaire’s Subliminal Enlightenment: Sophoclean “Simplicity” and the Purpose of Tragedy
Cécile Dudouyt
Chapter 7 The Rules of Tragedy: Johann Christoph Gottsched and the Question of Modern Tragedy
Adrian Daub
Chapter 8 Jesuit Tragedy: An Underestimated Stage of Enlightenment Discourse
Stefan Tilg
Part III Ancients, Moderns, and the Historical Turn
Chapter 9 Historicizing Tragedy in the Enlightenment, or Reading Dramatic Interiority in Racine
Larry F. Norman
Chapter 10 The Aesthetics of Torture: Diderot’s Theater of Cruelty
Joseph Harris
Chapter 11 Lament and the Temporality of Philhellenism
Joshua Billings
Bibliography
List of Contributors
Index
Descriere
A broad exploration of the collision and coexistence of classical and modernizing forces within tragic drama during the Enlightenment.